Thank you! The Expect Resistance dude praised this channel in some of his videos but I wasn’t able to find the channel as I thought he said “a-sign noise” or something. 
Wow! Some very inspiring stuff on this channel!
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And also
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[mod edit] off topic chat from Isn't the Analog Four the most incredible and deep instrument from Elektron so far? - #2975 by B_LD
I’m just so into rhe AR I must ride that wave as I’m sure you understand. Earlier today I thought that it’s definitely a device I hope you will buy some day.
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Last year I had one. I never lost the vague feeling of being too limited when it comes to synthesis only and let go after a couple of months again. I am very sure it’s a beast for performances when working with samples, which I rarely do. I just wanted an analog drum machine. Maybe I just wasn’t patient enough.
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I sure wasn’t patient enough the first time I had it. In many ways the synthesis goes way deeper than on the A4, I mean the mk2 with the option to modulate the living hell out everything by using the cv-inputs and individual audio outputs.
That combined with the analog engines that are v flexible for all kinds of sounds, the option to use single cycle waveform samples as extra flo’s, the perf mode and scenes AND the master compressor and distortion as effects to take it’s sonic potential to a whole new level in very experimental ways.
Initially I was quite grumpy about the fact that it only has one lfo and this time around I oftentimes forget to even use it.
The most awesome stuff I’ve discovered with it so far I haven’t sadly recorded, but just kept tweaking it until it was gone haha, but I will surely start posting some stuff here that will hopefully demo what I mean.
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Stop it, you’re gonna make me buy it a third time!
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AR content (sorry):
I didn’t know the AR could do that. Can you tell me how?
You can just load some SCW*s into it as samples, then assign the waveform(s) of choice to the track you want to use for it (the LT is a good candidate as the engine is quite meh) and then just have it trigger as you want or just put a conditional trig on the first step so that it only triggers it once and of course set the sample to loop, take the cv out from the LT individual output as the individual outs are DC-coupled and patch it to the cv input. Then you can assign it to 4 destinations with attenuverters = hella fun. You can then add color with bit crushing the SCW and by applying filter if desired.
This might sound like a PITA to set up but it’s super fast and easy after couple of times and it has tons of plus sides compared to a basic lfo.
You can also use two tracks with choke group and with different waveforms and use those lfos as envelopes, taking advantage of the euclidian stuff if you please.
Also you can modulate the volume or any other parameters of that sample track with for example the audio from the main output or any individual track.
The options are pretty much limitless.
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Hmm I never thought about using the CV outs of A4 into AR. I wonder if you can get envelopes that retrigger that way.
I have a faint memory of reading somewhere that unlike with the envelopes of the A4, you could trigger the voices of the AR with triggers from piezo mics or basically any similar source. Not sure though. edit: Nope.
I’m not sure how this would work as the tracks don’t have trigger ins. Rudimentary two-voice version would be to have the AR tracks free running but low volume, then use an external envelope into the CV inputs to raise amp. I’ve been using external LFOs from modular, works great. Didn’t have great results running audio signals into the CV ins as they come out very choppy and the AR can’t slew them.
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This is probably the best description of the Rytm I‘ve heard so far! I‘ve owned almost every modern Elektron, and the Rytm is the only one that I‘d say this about. You can experience this for yourself if you compare the machines that are available on both AR and ST. They sound wilder on AR out of the gate, even before you‘ve started to mess with filters, drive, compressor or performance mode.
It’s AR‘s biggest strength but can also be to its detriment, depending on the user. I‘m not good at mixing and I‘ve noticed that while I love how things sounded on my AR, I had trouble mixing these songs later because there’s so much character that can conflict and muddy the mix.
I‘d still be tempted to get it back because it’s my favorite drum machine and groovebox, but it lacks note range and MIDI sequencing for me personally to justify taking up so much space on my desk. Also: performance mode is fantastic, but I hate that it’s tied to these stiff pads. Whenever I used it a bit more extensively, my hands literally hurt badly for several days. Maybe this is better on newer Rytms, but it was true for both of the grey MK IIs that I‘ve owned.
Because the price has been mentioned: I also used to think it’s way too expensive new these days. But looking at TR-1000 prices and comparing features puts AR‘s price into perspective imo.
I don’t know if I‘d call it underappreciated. I’d don’t hear many people complain about it these days, especially since 1.70. Anecdotally, I get the sense that older posts often say „I didn’t like the analog engines and only used it as sampler“, but that seems to have changed. There’s a dedicated thread for it that’s decently popular, only beloved Elektrons get a „that … sound“ thread:
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I echo what you are saying and I can tell you that the AR is my preferred machine, I have not tried Tonverk and OT yet
The strengths of AR IMo are:
- fun and joy to play (pads performance scene)
- It sounds really good (if you know the gain staging of the machine)
- Very good control of the sound
- Fx track gives you infinite possibilities
- Individual outputs and cv in
I read a lot of comments saying that Syntakt sounds better, I had it for a short time and yes I confirm but I found the layout very confusing and I was ending up doing always the same sequences maybe because I was missing the pad experience of the AR
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Regarding AR’s pricing: In addition to TR-1000’s price and after the considerable price rise of Soma Pulsar-23 on 2026-01-01 we can state that AR is a bargain now. 
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Yeah true. I don’t know where I’ve read or heard something like that in the first place. Very likely it’s just my memory failing.
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I was really excited about my AR1 journey, but it came to an abrupt halt when a few of the encoders started acting up 
They still work but are very annoying, so I put the AR in the closet. I’m ordering new encoders from Elektron, but need to find someone to solder them in.
The little time I had with it before putting it in the closet was great. It’s no match for the Syntakt imho, but it’s not supposed be, and it has its own strengths. Like the best Elektrons, it has its own paradigm and is a world in itself that you can delve into and explore. I love its immediacy and dark, filthy sound.
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Sorry to hear about the encoders, hopefully this can be easily fixed!
I usually don’t like to ask or read these questions, but with you being our ST posterchild, I‘d really appreciate to read a few more words about why it’s no match for you personally. Is it about the obvious things that ST just can do that AR can’t? Or is there more to it? I‘m also fascinated that while ST seemed to be AR light at first, in practice these two machines feel totally different and always led me to make extremely different music.
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Sorry for this long post, but your question made it clear to me that I’d had made myself guilty of some sloppy commenting again 
(not the first time). So I had to give this some more thought.
This comment produced some very funny images in my head 
We can all be relieved I’ll never make it to any kind of poster 
I think the answer is that for me, nothing beats the ST with regards to the wealth of sounds that are available and easily employed with super simple means. The width of its machines as a whole, the ease with which you can put them in a sequenced context, the simple but very effective voice structure (filt/amp/lfo), and its clear and super fast interface.
The Syntakt feels very closely related to the Machinedrum to me. They have the same immediacy, a wide selection of sounds which can be employed very easily, and not least the fun factor and solid sound. The MD was my great love for many years. Today, I think I’d feel that it would fall behind due to its lack of modern sequencer functions, the less flexible voice structure (filt/amp/lfo), and importantly its lacking abilities when it comes to making melodic stuff. This is all in my opinion of course. Soon the MD police will come running after me 
I know there have been recent updates, but I’m emotionally done with the MD and not going back.
The AR doesn’t “open up” as quickly for me. The analog sounds are great but there are only the analog ones ofc. Samples are cool, but always less immediate for me. It feels like it requires a few more button presses and tweaks to “unlock”, or to get to where I want. Or maybe I just haven’t used the AR enough yet? I’d still characterize it as an immediate instrument with a great interface though. Just not on the same level as the ST.
I can see how the mk2 invites to a different kind of workflow with resampling. It’s not in the cards for me atm though.
Totally agree with this, which is why it was bit silly of me to compare the two. They’re different soundwise, interface-wise, and not least in which musical directions they lead me. When I got the AR, I was conscious not to try to replicate my ST sounds with it. I wanted to try to get to know it on its own terms and see where it would lead me.
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